After his record-breaking and warmly remembered Love On Tour, Harry Styles is back with a fresh, slightly more experimental twist on universal, blockbusting live pop. The revision of his performance style is subtle enough that Together, Together feels comfortable and familiar but the minor rebrand that came with his latest album Kiss All The Time. Disco, Occasionally. sufficiently spices things up. Following a glittery, feel good singalong with Shania Twain to warm things up, “Are You Listening Yet?” opens the show, with tangible gratitude flying through the stadium from Styles in the Read more ...

“Do we really need another Anish Kapoor exhibition?” I asked myself on hearing of the Hayward Gallery’s plan to show the sculptor a second time. (He exhibited there in 1998 and has also had major shows at the Royal Academy and Tate Modern along with numerous Lisson Gallery exhibitions, while his Orbit Tower continues to overlook the Olympic Park in Stratford.)Having just visited the exhibition, though, the answer is a resounding “YES”! I’m still buzzing with delight at Kapoor’s majestic take-over – the show is more like an occupation than an exhibition. On entering, for instance, your way is Read more ...

Spielberg’s new close encounter of the third kind asks for faith in humanity and extraterrestrial life which it struggles to earn, his old sense of wonder only fitfully sparking as he argues that, whether contemplating our neighbours or the cosmos, we are not alone.Jaws, Close Encounters and Spielberg’s later Munich all borrowed from the Seventies conspiracy thriller, and Disclosure Day too begins as Daniel (Josh O’Connor) pilfers copious buried alien evidence from the US government’s secret Wardex Corporation, taking startled girlfriend Jane (Eve Hewson) along on his flight from company boss Read more ...

For many years Paul Weller had a conflicted relationship with the oldest parts of his back catalogue. It was rare to hear more than one of his pre-1990 songs in concert. Then he started slipping them in, but only a couple. Tonight, he’s clearly at peace with the whole of his long and varied career, playing seven songs by The Jam and four by the Style Council in a set well over two hours long. It’s a joy to hear these gems scattered with vital precision among the eclectic smorgasbord of what came after.Weller has always been a lean, urgent presence and he remains so. Chewing gum, iron-grey of Read more ...

Reader, I confess that I entered the dark space of Pélleas et Mélisande at Snape Maltings with a prior conviction: that, although musicians adore (for the best of reasons) Debussy’s sole completed opera, audiences sometimes simply endure it. However, strongly singers and orchestra (here, the BBC Scottish Symphony Orchestra with Ryan Wigglesworth) convey this dense-woven tapestry of suffering, foreboding and confinement, the first half especially can make listeners echo Pélleas’s cry down in the airless vaults where Golaud drags him: “I’m suffocating.” Wigglesworth, his wholly committed Read more ...

“John Coltrane, he’s a major influence on this record. The instrumental on the A-side is an abstraction of the jazz musician named John Coltrane. That’s C-o-l-t-r-a-n-e.”The Byrds’ David Crosby was spelling it out on 28 March 1966 at a New York press conference called to promote – and explain – his band’s new single “Eight Miles High,” issued nine days earlier. His fellow Byrd Roger McGuinn told journalists that Allen Ginsberg had played them Coltrane: that he “wanted that to come out in our music.” A tape was made of what Ginsberg was urging them to assimilate. Image Read more ...

Rambert is celebrating its first 100 years with a triple bill that emphasises the youthful vitality of the company. “We’re 100, and we’re just getting started,” they enthusiastically declare. “The next century starts here.” Like many of the best things in Britain, our first dance company was set up by an immigrant – a Polish woman dedicated both to dancing and promoting others. On leaving Diaghilev’s Ballet Russes where she’d danced with Nijinsky, Marie Rambert came to this country in 1914.As a child she was nicknamed “Quicksilver” because she never stopped moving, and on arrival she Read more ...

The finale of the Royal Ballet’s 2025-26 programming is an extraordinary sight. At the curtain call for Salle de danse, a world premiere from Sol León and Paul Lightfoot, there are so many dancers taking a bow that they have to take turns to come forward, in two different rows, each as wide as the stage. That’s before the conductor and creatives join them.León and Lightfoot’s visit is yet another canny – and generous – piece of scheduling by director Kevin O’Hare, a way to give a sizeable chunk of his company a piece to get their teeth into, with grandstanding turns in the spotlight for many Read more ...

Anybody who relished the blistering family rows of Bad Jews or Admissions might be surprised by what their author, Joshua Harmon, wrote next: a three-hander still based on a warring family, but this time one closely resembling his own.Hampstead Theatre has sensibly staged We Had a World in its Downstairs space, where the intimacy of its content plays directly to the onlooker. The audience here, more overtly than is usual in the theatre, plays judge and jury for what the younger version of Harmon, Joshua (Ryan Kopel), stages as a recreation of his past, aided by his “cast”: his brisk lawyer Read more ...

Berlioz's intended companion for his Symphonie fantastique was Lélio, or the Return to Life - an assemblage of mostly magical earlier pieces strung together with an autobiographical narration. That's a rarity these days, but so is an all-Berlioz programme with a more familiar work to preface the iconoclastic Symphonie, and we should be grateful to Simon Rattle with a much-expanded Orchestra of the Age of Enlightenment for such an imaginative choice.The concept, it seems, was for a gauzy, dreamy take on a less fantastical slice of autobiography, Harold in Italy - which despite its Byronic nod Read more ...

“Enola Gay” is perfect pop, the ultimate party-uplift banger. It’s that rare song which only seems to grow better as the years, then decades pass. This is tricky to reconcile with the fact it’s about the atomic bombing of Hiroshima (albeit opaquely). But, when Orchestral Manoeuvres in the Dark play it as the last song before their encore, the subject matter fragments amid its subversively joyous synth riff, as has been the case ever since it was a Top 10 hit, back in 1980. It’s greeted ecstatically, like the old friend it is. Image OMD’s set Read more ...

This beguiling “semi-staged” performance of Mahler’s First Symphony is the latest attempt in a growing movement to interrogate the relationship between classical music performers and their audiences. It’s strongly reminiscent of the point when theatre directors were ripping up the rulebook in the Nineties, whether they were staging their works in site-specific locations, plunging audiences into complete darkness, or subverting expectations with new uses of video projection and puppetry.Inevitably there were misses as well as hits, but thirty years on, there’s no doubt that the theatre scene Read more ...